Future Past: Experiments in Photography at Tracey Morgan Gallery in Asheville, NC

March 4, 2018

Tracey Morgan Gallery is pleased to present Future Past: Experiments in Photography, a group exhibition of work from 15 artists, all of whom are working beyond the traditional notions of photography. Artists included are Matthew Brandt, Marco Breuer, Colby Caldwell, Bridget Conn, Ofri Cnaani, Bryan Graf, Sandi Haber Fifield, James Huckenpahler, Ivana Larrosa, Chris McCaw, Ben Nixon, Stacey Page, Dawn Roe, Nikko Sedgwick, and Lydia See.

Work from my series, Conditions for an Unfinished Work of Mourning: Beauty as An Appeal to Join the Majority of Those Who Are Dead, is included in this group exhibition. Read the full press release HERE.


Strange Oscillations and Vibrations of Sympathy – Catalogue Release

October 21, 2017



My video work, The Sunshine Bores | The Daylights, was included in this exhibition last fall along with artists: Jen Bervin, Stephanie Brooks, Anne Collier, Bethany Collins, Moyra Davey, Marcelline Delbecq, Abigail DeVille, Eve Fowler, Dianna Frid, Coco Fusco, Sabina Ott, Melissa Pokorny, Kay Rosen, Carrie Schneider, Xaviera Simmons, Lisa Tan, Cecilia Vicuña, Catherine Wagner, Carrie Mae Weems, and Deborah Willis. The catalog (including texts and essays by Melissa Johnson, exhibition curator Kendra Paitz, Xaviera Simmons, Kay Rosen, Marcelline Delbecq, Cecilia Vicuña, Deborah Willis and Cheryl Finley) is now available via the University Galleries of Illinois State University.


An excerpt of the catalogue text describing my contribution follows:

[Woolf’s] texts are interspersed with still and moving images, sometimes split-screen, of leafless trees, right-side-up and upside-down, against blue and gray skies. All the while, the soundtrack alternates between silence and a woman’s voice repeatedly singing fragments of the phrase “The sunshine bores the daylights out of me” (which sounds like something Woolf may have written, but is not) as she builds phrases into the entire sentence. Her unaccompanied mellow and melodic voice slowly starts and stops, sometimes in off-register layers, in stark contrast to the Rolling Stones’ high-energy-sexually-driven performances of their 1972 song, “Rocks Off,” from which the lyric is quoted. Roe’s mashup of a Modernist’s written text, a classic rock group’s refrain, and her own artistic imagery peacefully washes in and recedes, much like a wave.

– Kendra Paitz, Lead Curator at University Galleries of Illinois State University

Steady Observation: The Intersection of Scientific Inquiry, Art, and Life

October 21, 2017

Conditions for an Unfinished Work of Mourning (Beauty as An Appeal to Join the Majority of Those Who Are Dead): Shadow of a Francoist Monument, 2017 (Digitized cyanotype)

Orlando Science Center
Orlando, FL
September 29 – December 31, 2017

For this venue, I’ve produced a large-scale wall installation consisting of 15, digitized cyanotypes printed to vinyl accompanied by a single-channel video. Also from the series, Conditions For an Unfinished Work of Mourning: Beauty As An Appeal to Join the Majority of Those Who Are Dead, this exhibition site offers an opportunity to introduce a significant portion of this work to the public.

Steady Observation is organized in conjunction with Time as Landscape: Inquiries of Art and Science, on view at the Cornell Fine Arts Museum during the same time period. The press release describes this exhibition as including artists who “form deep connections with the environment and in many cases, the structures and systems that affect the natural world. They are observers and investigators drawn to the obscurities and secrecies found and produced in diverse environments. The process of observation involves gathering of data, asking questions, and ultimately the development of varied hypotheses. Through focused and continued observations, new questions form and experiments continue.”

Steady Observation features selections from the permanent collection of the Cornell Fine Arts Museum and various loans. The list of artists in this exhibition includes: Brian Burkhardt, Anna Cruz, Brooks Dierdorff, Noah Doely, Luke Erickson, Andy Goldsworthy, Dina Mack, Trevor Paglen, Dawn Roe, Leah Sandler, Rachel Simmons, and Trine Søndergaard.

Find out more at the link below:

Time as Landscape: Inquiries of Art and Science

October 21, 2017


Cornell Fine Arts Museum at Rollins College
Winter Park, FL

September 29 – December 31, 2017

The work I was invited to produce for this exhibition consists of a single, digitized cyanotype mounted to aluminum. Part of a new and ongoing project, Conditions For an Unfinished Work of Mourning: Beauty As An Appeal to Join the Majority of Those Who Are Dead, this exhibition will serve as one of two venues for its initial display. The museum’s press release describes this exhibition as having been inspired by the practice of selected artists “who desire to understand, question and describe the subject of time: as scientific fact, as relative experience, as aesthetic archive.” The checklist includes artists: Darren Almond, Lucas Arruda, Rosa Barba, Luis Camnitzer, Julia Dault, Tacita Dean, Noah Doely, Spencer Finch, Camille Henrot, On Kawara, Tom LaDuke, Julie Mehretu, Trevor Paglen, Howardena Pindell, Thiago Rocha Pitta, Dawn Roe, Tomás Saraceno, Xaviera Simmons, Sarah Sze, Sara VanDerBeek, and Lawrence Weiner. A full color catalogue accompanies the exhibition and will be available from the Cornell Fine Arts Museum giftshop.

An excerpt of the catalogue text describing my contribution follows:

During a summer 2017 residency in Spain, near the border of France, Roe worked outside each day, exploring the natural terrain, its rocks, shadows, and natural vegetation. Like the groundbreaking artist Nancy Holt, who produced her own distinctive response to light and topography, Roe cultivates a personal relationship with nature—a bond that is dedicated, ongoing, and often tied to mourning [..]. In Catalonia, Roe further linked to the historical past and to memorials, the physical area covered by the artist encompasses the forests near the footpath where philosopher Walter Benjamin traveled before his suicide in Portbou. Roe resuscitates the past and sheds light on lesser known histories, specifically here, the role of a women in the creation of cyanotypes, a critical process to the development of photography’s history and recognition as an art form. Anna Atkins published British Algae: Cyanotype Impressions in 1843. A groundbreaking accomplishment by the British botanist, British Algae included more than 400 cyanotypes and became the first publication to solely illustrated by photography.

– Dr. Amy Galpin, Cornell Fine Arts Museum Curator

Visit the Cornell Fine Arts Museum website for more information:

Mountainfield Studies included in the group show, Transplants, at Tracey Morgan Gallery in Asheville, NC

July 31, 2017



From the press release:

“Tracey Morgan Gallery is pleased to present Transplants, a group exhibition featuring work by artists: Colby Caldwell, Dawn Roe, Hannah Cole, Molly Sawyer, Ralston Fox Smith, Kirsten Stolle, and Workingman Collective.

While all participating artists are currently based in Asheville, they have each relocated to our increasingly popular mountain mecca from larger cities. Asheville has long served as a comparably affordable oasis that has continuously lured creatives to the area. This show will spotlight 7 uniquely talented transplants, with mediums ranging from painting, photography, and sculptural installation.”

Read more HERE.

Mountainfield Studies featured in FRAME/S, on The Detroit Center for Contemporary Photography site

March 1, 2017

Click HERE to read the interview between myself and DCCP curator, Kottie Gaydos.


Mountainfield Studies included in Context 2017 at Filter in Chicago

February 5, 2017

Exhibition Dates: March 3 – April 22, 2017
Opening Reception: March 3 | 6pm – 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday – Saturday 11am – 5pm


Filter 2017 Announcement

Very pleased to know my work will be on view in my former home of Chicago, Illinois this spring. Selected by Natasha Egan, Executive Director of the Museum of Contemporary Photography at Columbia College Chicago (MoCP), a print from my series Mountainfield Studies will be on view, and serves as the cover image for the exhibition announcement.

Find out more at the link below:

Mountainfield Studies included in Chiang Mai Photo Festival in Thailand

February 5, 2017


Patricia Lois Nuss has curated one of the main exhibitions at The Chiang Mai Photo Festival, Collective Experiences. This group exhibition includes works by 23 artists based in the U.S. My work is represented by a print from the series, Mountainfield Studies.

Find out more at the link below:

A Certain Slant of Light at Riverside Arts Center

February 5, 2017

January 15 – February 25, 2017

Guest Curated by Bill Conger and Shona Macdonald



A Certain Slant of Light (Installation View), including works by Natalie Jacobson (Left), Bill Conger (foreground), and Dawn Roe (Right). Image Credit: Shona Macdonald

I’m so pleased to have been asked by friends (and exhibition curators) Shona Macdonald and Bill Conger to share an older work from my series, No One Was With Her When She Died, in this current exhibition at The Riverside Arts Center. An excerpt describing the exhibition is below:

There’s a certain slant of light On winter afternoons,
That oppresses like the weight Of cathedral tunes”
– Emily Dickinson

The work of this group of artists hopes to encapsulate the lyricism, fragility, and foreboding inherent in Dickinson’s poem. Memory too, captured in Dickinson’s vivid imagery, is present in much of this work: particularly the way memories unearth and dislodge, becoming different with age. Also, stillness and boredom where the imagination runs free, on days such as dreary, rain-soaked Sunday afternoons, as evoked in Dickinson’s poem.

The poem’s undercurrent of affliction illuminates something within the narrator herself. A supernatural heft within the four slight passages swells as the arbitrary and enigmatic slant of light transforms into a malevolent force of nature. The artists represented here amplify common visages and familiar objects while expounding on the implications. These artists similarly excavate content from the slightest stimuli either pictorially or through gesture. Their works yield psychically charged moments, which reference Dickinson’s unequalled ability to exact underlying drama from arrested observation. — Shona Macdonald, Guest Curator

The Sunshine Bores | The Daylights included in Strange Oscillations and Vibrations of Sympathy at University Galleries in Normal, IL

February 5, 2017

Installation View, Strange Oscillations and Vibrations of Sympathy, Kay Rosen (Sheep in Wolf’s Clothing) and Dawn Roe (The Sunshine Bores | The Daylights). Image Credit: Juan Fernandez

I’m late to add this to the “News” section of my website, but am pleased to have been included in this exhibition, curated by Kendra Paitz, last fall at The University Galleries at Illinois State University. A catalog is forthcoming, and I look forward to sharing that news in the coming months. About the exhibition, Paitz writes:

Strange Oscillations and Vibrations of Sympathy features work by contemporary female artists that acknowledge or reference women writers. The exhibition’s title is derived from a sentence Sylvia Plath underlined in her copy of Virginia Woolf’s The Waves, and that Stephanie Brooks later appropriated for a text-based artwork. These multiple layers of mediation are integral to all of the included works. The exhibition features 34 works by 21 artists inspired by writers Octavia Butler, A. S. Byatt, María Elena Cruz Varela, Emily Dickinson, Zora Neale Hurston, Clarice Lispector, Gabriela Mistral, Toni Morrison, Alejandra Pizarnik, Mary Shelley, Rebecca Solnit, Gertrude Stein, Sylvia Plath, Mary Wollstonecraft, and Virginia Woolf.

As a tribute to Woolf’s foundational essay “A Room of One’s Own,” all the artists selected for Strange Oscillations and Vibrations of Sympathy are female in order to focus the interpretation of literature through the lenses of subsequent generations of artists. The works in the exhibition demonstrate the political and creative progress of feminism, examine writers’ intellectual pursuits, navigate their status as literary icons, and interpret their legacies. They also engender an intimate and sustained contemplation of texts—a cerebral, analytical pursuit whose future is threatened by a culture that favors sound bites, hashtags, and 140-character tweets.

A catalogue is forthcoming in 2017 featuring texts by exhibition curator Kendra Paitz, art historian Melissa Johnson, poet/artist Cecilia Vicuña, and artists Xaviera Simmons, Kay Rosen, Deborah Willis, and Marcelline Delbecq.”

Find out more, and view additional installation images at the link below: